During the month of January in the year 1843, the following article
appeared in "The Artist; a Monthly Lady's Book." (New York) page 235.
No volume or issue number is given, but this is apparently the only
volume published before this monthly publication was absorbed by
"Lady's World" (later "Peterson Magazine.")
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USES OF THE DAGUERREOTYPE
THE Daguerreotype process can represent objects all but in motion;
a momentary suspension of movement only is necessary to fix the image
on the plate, and a transient expression of the countenance is rendered
permanent. If there is one thing more than another that the magic
power of the Daguerreotype is valuable for it is this, of limning the
fleeting shades of expression in the human face: for here the art of
the painter, however great his skill, is most at fault. Could Garrick
have looked all his characters before the lens of the Daguerreotype,
generations would have beheld again and again, what was given to his
contemporaries to see once and away. Charles Matthews, who dipped for
faces behind his green table, need only to have presented his various
physiognomies before the Daguerreotype camera, to have them reflected
in that retinent mirror. We instance actors in particular, because
their art consisting in assuming at will characters and feelings, the
Daguerreotype is peculiarly well adapted to take their portraits in a
state of emotion.
The value of the Daguerreotype as an aid to artists both in
landscape and portraiture is not yet fully appreciated; nor is the
practice of producing prints from photographs so general as it is
likely to become. We have lately seen two Daguerreotype views taken by
Messrs. Franquenet & Weston, of No 12 Park Place, the one of the Astor-
House, the other of the City Hall--they are beautifully executed, and
are the most exact representations of Public buildings that can be
imagined. To appreciate them duly, these photographs should be viewed
through a medium of high magnifying power. We have also seen some
Daguerreotype portraits by Franquenet & Weston, which, for finish, and
artistical disposition, are superior to any which have come before us.
Being themselves artists, these gentlemen perfectly understand the
position most favorable to the party sitting for a portrait. Most
persons under such circumstances, sit in a stiff and constrained
posture, pursing up their mouths, and looking very gravely. But Mr.
Franquenet alters all this, he places them in an easy and natural
attitude. We have seen several most graceful and lovely portraits of
ladies, taken by his Daguerreotype. The whole process does not occupy
more than two minutes, so that any person can easily maintain the same
expression of countenance, during the whole time of sitting. We would
hint to the ladies, that figured silk, or stamped velvet dresses, give
most effect to these pictures; every minutiae of their patterns coming
out with miraculous exactness.
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Posted for your enjoyment. Gary W. Ewer
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01-06-99